A Fragment from Archaic Times

When performing this short piece, the most important thing is to play the rhythm accurately. The 6/8 time signature usually means that a dotted quarter note constitutes one beat, i.e., three eighth notes make one beat. However, in Arensky's case, that one beat is often divided into two instead of three. In other words, two dotted eighth notes make one beat, a somewhat confusing technique when one considers it. Suppose there are two dotted eighth notes within one beat, and for each of these two dotted eighth notes, there are three sixteenth notes in a separate voice. In such a case, it sounds as if it were in 4/4 time.

If this continues, it would sound like 4/4 time, meaning the dotted eighth notes would sound like quarter notes, and the three sixteenth notes in the separate voice would sound like triplets. However, if one of the two beats in a 6/8 measure follows the usual 6/8 rhythm, and the other beat contains two dotted eighth notes, it can be quite confusing for the listener. In fact, this is a rhythmic device that Arensky is particularly fond of.

This compositional technique also appears in this piece. In any case, remember to always feel the beat while playing. Furthermore, for example, the sixteenth notes on the first beat of measure 4 are clearly a continuation from the second beat of measure 3. It is easy to flow through without feeling the first beat of measure 4. Pay attention to such places. And without taking unnecessary time, proceed without stopping, feeling the 6/8 beat.

Also pay attention to the fermatas in measures 25 and 51. What to pay attention to is that the tempo restarts "the moment" the note held by the fermata ceases. This means that in measures 26 and 52, you must accurately count five eighth rests. From the moment the note held by the fermata stops, count five eighth rests and play the sixth note. This is very important.

From a technical standpoint, the first right-hand chord in measure 16 cannot be grasped by those with large hands. If the performer's hands are small and this chord cannot be grasped, one would usually omit notes; however, the outer voices F# and G# are crucial and cannot be omitted. Therefore, it might be best to play it as an arpeggio, or perhaps play the lowest F# with the left hand, using it almost like an ornament, and then, with the help of the left hand, play the remaining three notes with the right hand, striking all four simultaneously. Personally, I feel that arpeggiating it from bottom to top would cause the piece to lose its character. Ultimately, it is up to the performer's discretion, so please try to be flexible and inventive. What is important from the musical aspect of this piece is to play with a sense of high pride, as if noble aristocrats were engaged in conversation.